"....Originally, there weren’t cows visually in the scene. But we put cows in the background [ed. referring to the audio], because they said it was a milk farm. Quentin liked the cows so much that he had them put visual effects cows in, after the fact. Then the very last cow that you hear as we’re leaving the scene is Quentin. He was saying, “No, I want one that goes like this.” He did it, and it was, “Well, we’ll just use that.”
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DS: Let’s turn back to this opening scene that we were talking about. As far as the ambiences, we’ve talked about using the background sounds to mask noise from the production track, but these cows and roosters that pop in every once in a while… Were they primarily to mask noisy elements, or were they more? I feel like they accent certain moments in the scene.
HC: Yeah. Not so much story as rhythm. You might have a bird track, but go and put in certain spotted birds or something. In the opening scene, the backgrounds were done by Ann Scibelli. The individual spotted stuff is something that we went through and shifted the position of once Quentin was there. “Cut that one out. Move this one here. That one’s good.” You know, you put a cow moo in the wrong place and you make something funny where you don’t want it funny. And you put it in the right place, and it just accents the pause in between the dialog.
DS: The cow when Christoph pulls out that giant pipe was just perfect.
HC: [laughs] Yeah. It becomes about rhythm…the rhythm of the scene and rhythm of the dialog.
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